With the release of patch 3.0.8 we have implemented a new matchmaking system for arenas that will improve the overall system and help ensure that players will be matched against others of equal skill. The new matchmaking system uses a rating that you cannot see, and is separate for each of the arena brackets.
The rating changes at the end of each match are affected by this new system, and as it just came out, there may initially be some odd behavior in rating changes, but these will straighten out fairly quickly.
Gamasutra reports Jeff Kaplan will be a keynote speaker at the upcoming Game Developers Conference (GDC 2009) through March 23-27 at the Moscone Center, San Francisco. This keynote will help aspiring and professional game developers; and college students to experience an insight into the process of quest design and gameplay direction.
Jeff Kaplan & Medievaldragon
The Cruise Director of AZEROTH: Directed Gameplay within WORLD OF WARCRAFT
Speaker: Jeffrey Kaplan (Associate Designer, Blizzard Entertainment)
Track: Game Design
Format: 60-minute Lecture
Experience Level: All
This discussion will focus on the original development of WORLD OF WARCRAFT’s quest system and how it has changed over time, with WRATH OF THE LICH KING being the latest evolution. The presentation will also include some of the guidelines and philosophies that are followed when creating WoW content. It will also be suggested how WoW’s philosophy applies to other game genres and touch on topics such as game design as it applies to story, single player, massively multiplayer, open world and constrained locale considerations.
Blizzard Entertainment’s Jeffrey Kaplan explains the guidelines and philosophies directing the creation of World of Warcraft content, and will also provide an informative look at the popular MMORPG’s “quest system and how it has changed over time, with Wrath of the Lich King being the latest evolution.”
Fantasy Flight Games invites players to embark into the latest World of Warcraft: The Adventure Game scenario: Alterac Valley. Heed the call to battle!
World of Warcraft: the Adventure Game is an exciting and fast-paced journey through the world of Azeroth for 2 to 4 players. Choose your favorite hero and embark on an epic journey from humble beginnings to immense power, battling vicious monsters, powerful overlords, and your treacherous fellow players!
Two to four players each take on the role of a Warcraft character. The base World of Warcraft Adventure Game comes with four unique and distinctive characters: Burbonn Fang the Dwarf hunter, Sandrai Darkshine the Human warlock, Sofeea Icecall the Undead mage, and Grumbaz Crowsblood the Orc warrior. Each character is depicted by his own detailed plastic figure and has his own specialized character and ability cards.
The call to arms has been sounded. Will you take up arms? This first scenario in the World of Warcraft: The Adventure Game League will force you to reevaluate your tactics, as you must prove yourself worthy through combat. For more information on the league, check out this article. Once you have played, record your information (Include all of the information requested in this news article) and email it to the JR Godwin, League Administrator.
I am glad I subscribed to a few CGI Animation and 3D community newsletters back in the days when I used to promote and recruit staff for the Starcraft Chronicles unofficial fan CGI film, a few years ago. CGChannel has announced their latest interview with Blizzard Entertainment’s CGI Artists Jeff Chamberlain and Fausto De Martini to talk about the making of the Wrath of the Lich King Cinematic Trailer. This three-pages interview contains four never-seen-before pre-rendered footage video clips. The interview covers which techniques and software tools were used to create the Sindragosa frostwyrm, Arthas, Frostmourne and the special effects of Arthas sweeping away the snow to reveal the ice floor.
This interview can be a dream for those who are CGI students or aficionados, and to those who would love to join the Blizzard team at one point. It will help you know how the different teams work the pipeline. Read the full interview. Help others find this awesome interview by commenting at N4G.
Blizzard cinematics are popular in part because of the excellent animation of characters, effects and camera work. Does Blizzard use Motion Capture or other technologies to achieve this level of animation?
We’ve built a team of really strong keyframe animators, and we have always keyframed our animation—and we prefer it that way. As I said, we strive for a hyper-realistic look, so our characters proportions are way augmented from what they would be in real life. As a result, they would tend to look a bit odd if they moved like someone with normal proportions would. Keyframed animation allows us to move our characters in a stylized way that fits the overall look. Also, there’s something about the level of quality you can get from a keyframed animation compared to a motion-captured one.
We have used motion capture a lot for getting a realistic handheld feel in our cameras, and in the interest of creating more and better content, we’ve looked into using motion capture as a tool during previsualization. Having the ability to quickly try out different angles and layouts for a shot by utilizing the speed of motion capture is very compelling from a director’s viewpoint. As far as the final frames go, we plan on sticking with our stylized keyframed animation.
The reanimated corpse dragon in the Lich King cinematic is beautifully executed in its design, modeling, effects and animation. Can you tell us a little bit about the tools and techniques used in those sequences?
We approached the sequence in which Arthas raises the frost wyrm in exactly the same manner as we approach all of our projects. We start with a loose script written by a few cinematics guys: Blizzard Entertainment’s vice president of creative development Chris Metzen; and the leads from the game team. The idea then moves to storyboarding and 2D concepting. Once that’s done, we start pre-visualizing the sequence. Modeling, animation, and production tech tend to then take over for a while, generating the meat of the project. Finally, finishing (lighting and compositing), effects, and matte painting take it all home.
Wrath of the Lich King was a project with a lot of firsts in our pipeline. It was the first time we used Maya to animate and lay out every shot, the first time we rendered every shot in Renderman, and the first time we used Nuke to composite. Some other products we use are 3ds Max and Mudbox for modeling, Mirage for storyboarding, and anything we can get our hands on for effects and matte painting.